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An Analysis of Female Agency in American Rape-Revenge Films Marissa Connell

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An Analysis of Female Agency in American Rape-Revenge Films Marissa Connell Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 2018 Rape, revenge, reclamation: An analysis of female agency in American rape-revenge films Marissa Connell Follow this and additional works at: https://commons.emich.edu/theses Part of the Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Connell, Marissa, "Rape, revenge, reclamation: An analysis of female agency in American rape-revenge films" (2018). Master's Theses and Doctoral Dissertations. 923. https://commons.emich.edu/theses/923 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Rape, Revenge, Reclamation: An Analysis of Female Agency in American Rape- Revenge Films by Marissa Connell Thesis Submitted to the Department of Women’s and Gender Studies Eastern Michigan University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Women’s and Gender Studies Thesis Committee: Deron Overpeck, Ph.D, Chair Abby Coykendall, Ph.D. Melissa Jones, Ph.D. July 12, 2018 Ypsilanti, Michigan Dedication This thesis is dedicated to my mom, Theresa, for never letting me quit my academic journey, no matter how many times I wanted to throw in the towel. Every time I cried, screamed, and slammed my laptop closed, she was there, pushing me to keep going. Thank you for always being my rock and my best friend. I truly would not be here without you. You have created and molded a strong, independent, take-no-shit feminist and I hope I make you proud. ii Acknowledgments Thank you to my thesis advisor, Dr. Deron Overpeck, for his oversight for this project. Your weekly comments and revisions helped this thesis become something great, and also helped me stay motivated. Thank you to my committee members, Dr. Abby Coykendall and Dr. Melissa Jones for their willingness to take on this project and provide me with feedback. Thank you to Dr. Ashley Falzetti. Without whom this project would not have come to fruition. Thank you for standing up for me and believing in this project. Thank you to my best friend, Troy Mullin, for being my comic relief and constant source of support, not only during this project, but for the past 8+ years. Thank you to Stacey Gullion and McKenzie Campbell for their friendship during this MA program. I’m so glad I had such strong ladies to talk to, lean on, and laugh with. You two have truly helped me get through this program. Thank you to my cat, Ginger, the love of my life. If science ever develops technology where she can read and understand this, I hope she knows how indebted I am to her for her constant companionship, cuddles, and meows that helped me endlessly while writing this thesis. Thank you for reminding me to be selfless and also forcing me to stop writing every now and then to spend time with you. Those are my most treasured moments. Finally, I’d like to thank Caro High School. To all those who told me told me I would never succeed – this one’s for you. iii Abstract In this thesis, I will analyze five films that have a rape-revenge narrative: Ms. 45 (1981), M.F.A. (2017), I Spit on Your Grave (1978), I Spit on Your Grave (2010), and The Girl with the Dragon Tattoo (2011). I will argue that the violent actions taken by the female protagonist during her revenge against her rapist(s) serve to allow her to reclaim her agency that was stolen from her during the rape(s). I will show that the rape-revenge narrative is more diverse than it might seem, as the five films I analyze deal with rape, and responses to rape, in very different ways. I will analyze female protagonists who act as social avengers and reclaim their agency by taking on society as a whole, female protagonists that confront the phenomenon of gang rape, and female protagonists who challenge the institutionalized system of male power. iv Table of Contents Dedication ..............................................................................................................................ii Acknowledgments ..................................................................................................................iii Abstract ..................................................................................................................................iv I. Introduction ........................................................................................................................1 II. Feminist Film Theory ........................................................................................................9 III. History of Rape/Rape Culture ..........................................................................................18 IV. History of Rape-Revenge Films ......................................................................................28 V. Castration and Its Anxieties ..............................................................................................34 VI. Torture Porn .....................................................................................................................38 VII. Film Analyses .................................................................................................................41 Ms. 45 and M.F.A. ......................................................................................................41 I Spit on Your Grave (1978) and I Spit on Your Grave (2010) ..................................55 The Girl with the Dragon Tattoo ...............................................................................63 VIII. Concluding Remarks .....................................................................................................69 Bibliography .......................................................................................................................... 71 Appendix A: Synopsis of Ms. 45 ...........................................................................................78 Appendix B: Synopsis of M.F.A. ...........................................................................................80 Appendix C: Synopsis of I Spit on Your Grave (1978) .........................................................82 Appendix D: Synopsis of I Spit on Your Grave (2010) .........................................................83 Appendix E: Synopsis of The Girl with the Dragon Tattoo ..................................................85 v I. Introduction In this thesis, I will analyze rape-revenge films to argue that the violent actions taken by the female protagonist in the revenge portion of these films are justifiable (within the context of the film) and serve to allow the female victim to reclaim her agency after the rape(s)/attack(s) she endured in the first half of the film. A film that has a rape-revenge narrative is one whose central narrative maneuver uses an act of sexual assault or rape (either on-screen or off) to motivate an act of vengeance.1 Typically, these films will follow a three-act plot structure—Act I involves the female protagonist being raped/gang raped/sexually assaulted, Act II involves her surviving the attack and rehabilitating herself, and Act III involves the female protagonist taking revenge on and/or killing her attacker(s). Claire Henry states, “rape-revenge stories are primarily about the lex talionis, the notion that once rape takes place, the world is out of kilter until vengeance is carried out by the victim.”2 Sometimes, this vengeance takes the form of eye-for-an-eye justice, where the victim-avenger enacts her revenge on her attacker(s) by doing similar types of torture to them as was done to her. Henry argues that eye-for-an-eye vengeance helps to restore order and rebalance the scales of justice.3 The rape-revenge narrative is a widespread phenomenon that occurs across several film genres. Henry argues that rape-revenge is a genre in itself because the classification of rape-revenge as a genre is a political move to validate rape-revenge’s 1 Andrews, “The Rape-Revenge Film: Biocultural Implications.” 2 Henry, Revisionist Rape-Revenge: Redefining a Film Genre, 17. 3 Ibid. significance and worthiness to be studied alongside the traditional genres.4 She also argues that studying these films as a genre will contribute to broader genre studies.5 Conversely, Jacinda Read argues that the rape-revenge film should be understood as a narrative structure rather than a genre in itself.6 As Read outlines in her book The New Avengers: Feminism, Femininity and the Rape-Revenge Cycle, rape-revenge plotlines can be found across a wide range of genres, from the detective genre, to the neo-noir, to the science fiction, and even the Western.7 Alexandra Heller-Nicholas also argues that the rape-revenge narrative structure is a universal phenomenon not bound to any time period or specific to any genre.8 In this thesis, I will follow Read’s and Heller-Nicholas’s approach because it best captures the rape-revenge film’s ongoing yet diverse approach to rape and responses to it. Rape-revenge narratives are of a particular interest to feminist film theorists and film critics alike. Rape-revenge films showcase pro-female scenarios that support female sexual agency at the individual level and sympathize with rape victims.9
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